An Ingmar Bergman film would probably owe a sizeable bulk of its import and its direction and its quality to the directorial end and to the director because it’s uniquely a Bergman film. But that again is not the general – no, that’s much more the exception than the rule.
Do I want to start my own production company? No, I doubt it. I’m too old for that. I don’t want to start anything.
I’d rather go along with this sense of illusion that I’m a neutral beast going along through life doing everything that’s preordained.
I’m afraid that if I started to ponder who I am and what I am, I might not like what I find.
I find dictating in the mass media particularly good because you’re writing for voice anyway; you’re writing for people to say a line and, consequently, saying a line through a machine is quite a valid test for the validity of what you’re saying.
If it sounds good as you say it, likely as not it’ll sound good when an actor’s saying it.
The tendency when you dictate is to overwrite, because you’re not counting pages, you don’t really know what the hell the page count is.
I write much better in the nonconfines of the early morning than I do the clutter of the day.
I miss the comraderie of live television – the fact that you were on the set, you worked closely with the director and the cast, that I miss. But, no, I’m happy, I’m happy doing film.
Now death is with us in such abundance and hovers over us in so massive a form that we don’t have time to invent a mythology, nor is our creativity directed toward same. Now it’s to prevent death.
I find it very difficult to live through the censorship of profanity on television.
The major difference frequently is in time. The motion picture, for example, gives you considerably more freedom of expression than does the confined thirty-minute television show. But in essence, they’re not that dissimilar.
Infinitely more taboos, on television.
I couldn’t direct because I’m too impatient and I couldn’t put together a package because I don’t understand money. I’d rather just do what I’m doing.
I guess Requiem for a Heavyweight as old as it is was as honest a piece as I’ve ever done.
I remember the first sale I made was a hundred and fifty dollars for a radio script, and, as poor as I was, I didn’t cash the check for three months. I kept showing it to people.
There are millions of ways to not be writing. You say you’re not in the mood, you’ll pick it up tomorrow.
I choose to think of tv audience as nameless, formless, faceless people who are all like me. And anything that I write, if I like it, they’ll like it.
I don’t have close relationships with agents. They’re friends, but they’re not confidants.
The good agent probably is not the reader, he’s just the guy who can put together a deal.